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Wishbone Ash
Wishbone Ash
Wishbone Ash
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Wishbone Ash are a British rock band who achieved success in the early to mid-1970s. Their albums include Wishbone Ash (1970), Pilgrimage (1971), Argus (1972), Wishbone Four (1973), There's the Rub (1974) and New England (1976).

Key Information

Wishbone Ash are noted for their extensive use of harmony twin lead guitars, which had been attracting electric blues bands since Jeff Beck and Jimmy Page had played together in the Yardbirds in 1966.[1][2][3] Their contributions helped Andy Powell and Ted Turner to be voted "Two of the Ten Most Important Guitarists in Rock History" (Traffic magazine 1989). Melody Maker (1972) described Powell and Turner as "the most interesting two-guitar team since the days when Beck and Page graced The Yardbirds". Several notable bands have cited Wishbone Ash as an influence, including the Eagles, Judas Priest, Iron Maiden, Van Halen, Lynyrd Skynyrd, Thin Lizzy, Metallica, Dream Theater, Overkill and Opeth.[4][5][6][7][8]

Formed in Torquay, Devon in 1969 out of the ashes of the trio The Empty Vessels (originally known as The Torinoes, later briefly being renamed Tanglewood in 1969), which had been formed by Wishbone Ash's founding member and creative force Martin Turner (lead vocals and bass guitar) in 1963 and complemented by Steve Upton (drums and percussion) in 1966. Wishbone Ash formed when Martin Turner and Steve Upton set up auditions for a guitarist and subsequently ended up with two guitarists because they could not decide between the two. So as a result, guitarists/vocalists Andy Powell and Ted Turner completed the original Wishbone Ash line-up. In 1974 Ted Turner left the band, and was replaced by Laurie Wisefield.[9] The band continued on with strong critical and commercial success until 1980. There followed line-ups featuring former bass players from King Crimson (John Wetton), Uriah Heep (Trevor Bolder) and Trapeze (Mervyn Spence). Wisefield left in 1985. In 1987, however, the original line-up reunited for several albums – Nouveau Calls, Here to Hear and Strange Affair – until 1990, when Upton quit the band. After Martin Turner was replaced in 1991, the band recorded The Ash Live in Chicago, before Ted Turner left again in January 1994.[9] This left Andy Powell as the sole remaining original founding member of Wishbone Ash to continue the band on into the future.

History

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Formation and rise to fame (1969–1980)

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Wishbone Ash on stage in Charlotte, North Carolina, US, in 1972

Wishbone Ash was formed in October 1969 by bass guitarist Martin Turner and drummer Steve Upton. When Tanglewood's original guitarist, Martin's brother Glenn Turner, left the trio and returned to his native Devon, their manager, Miles Copeland III, advertised for a guitar player and also for a keyboard player. After an extensive search for a guitarist, the band could not decide between the final two candidates, Andy Powell and Ted Turner (no relation to Martin). It was suggested that they try both guitar players "just to see what it sounds like". Differing from the twin lead sound of Southern rock pioneer The Allman Brothers Band, Wishbone Ash included strong elements of progressive rock, and also of folk and classical music. After the band members wrote several suggested band names on two sheets of paper, Martin Turner picked one word from each list – 'Wishbone' and 'Ash'.

In early 1970, the band secured an opening spot for Deep Purple. Its guitarist, Ritchie Blackmore, later recommended Wishbone Ash to producer Derek Lawrence, as well as helping them secure a record deal with Decca/MCA Records.

The band's debut album, Wishbone Ash, was released in December 1970. One year later, the group released Pilgrimage and the band peaked commercially in 1972 with Argus, their highest placed entry in the UK Albums Chart (#3).[9] The album was voted by the readers of Sounds as the "best rock album of the year", also "Top British Album" (Melody Maker). The band were getting international acclaim for their live performances as they gained popularity around the world.

Wishbone Ash had now begun to play major arenas as headliners. Wishbone Four (1973) was the band's first record without producer Derek Lawrence, as the band decided to produce the album themselves, and in December 1973 the band released a double live album, Live Dates. There had already been an album released called Wishbone Ash Live in Memphis, which was a promo to FM radio stations but never sold in stores.

In May 1974 guitarist Ted Turner, burned out by the group's constant touring, decided to leave the band. After replacing Turner with guitarist Laurie Wisefield (ex-Home), the band relocated to the US and recorded There's the Rub (1974).[9]

Locked In (1976), produced by Tom Dowd, saw the band moving towards US soft-rock territory and the group began touring with a keyboard player, Graham Maitland, who had previously guested with the group on a few shows and contributed to Wishbone Four.

1976's New England returned to the traditional Wishbone Ash style and Front Page News (1977) was the band's last album of this period that was recorded in the US. By 1978, after years of experimental albums, the band decided to return to its roots with No Smoke Without Fire, the first to be produced by Derek Lawrence since Argus in 1972. The album contained mainly songs written by Laurie Wisefield and Martin Turner.

The band spent six months making the next album, Just Testing, which was released in February 1980. Pressured by MCA to make more commercial music, Andy Powell, Laurie Wisefield and Steve Upton expressed to bassist/vocalist Martin Turner that they planned to recruit a lead singer/frontman, thus restricting Martin Turner's duties to bass guitar only.[citation needed] Turner felt unable to support such plans and described the position he was being put in as "untenable". Following a band meeting at his house in October 1980 (just prior to the release of their Live Dates 2 album), Martin Turner parted company with the band. Ironically, the band never recruited the proposed frontman and Turner, in his 2012 autobiography, described the situation as "constructive dismissal". However this was not a view held by the rest of the remaining band members or the then management.

Line-up changes (1981–1986)

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Turner was replaced by bassist and vocalist John Wetton, formerly of Family, King Crimson, Roxy Music, Uriah Heep and U.K. Number the Brave was released in April 1981 and featured Wetton's lead vocals on just one song, although during album sessions he had offered songs such as "Here Comes the Feeling" that would eventually sell millions when released on Asia's 1982 debut album. Discouraged, Wetton did not continue with Wishbone Ash beyond the album sessions and instead co-founded Asia.

Wetton was replaced on the Number the Brave tour by the former Uriah Heep bassist Trevor Bolder.[9] Also joining the band was female backing vocalist, Claire Hamill, who had sung on both the Just Testing and Number the Brave albums.

In 1982, after Hamill's departure, the band experimented with heavy metal on the Twin Barrels Burning album. It became the highest charting Wishbone Ash album in years (UK #22).[9]

Bolder left the group to rejoin Uriah Heep in April 1983, to be replaced by bassist/vocalist Mervyn Spence (ex-Trapeze).[9] The group continued with a rock side on 1985's Raw to the Bone, which became the first Wishbone Ash album not to make the charts. Not long after, Wisefield left after serving as guitarist in the band for eleven years, going on to a varied career that would include work with Tina Turner, Joe Cocker, Roger Chapman, Jeff Wayne and the Queen musical We Will Rock You. He was replaced by Jamie Crompton, who in turn was succeeded briefly in 1986 by Phil Palmer, after which, Crompton returned. Early in 1986, Mervyn Spence quit as well, to be replaced by ex-Kinks bassist Andy Pyle.[9]

Reunions and departures (1987–1994)

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At the start of 1987, I.R.S. Records founder and original Wishbone manager Miles Copeland III began a series of albums entitled No Speak, which featured all instrumental music. To launch the label successfully, Copeland needed a big name band that would bring publicity to the project. Copeland approached the four founding members of Wishbone Ash about having the original line-up record an all-instrumental album. Beginning in May 1987, for the first time in fourteen years, Andy Powell and Steve Upton joined forces with Martin Turner and Ted Turner to record the album.[10]

In the meantime, previously booked concerts were covered by the Powell/Upton/Crompton/Pyle lineup, including a show in May 1987 in Sun City in South Africa, where the band had been advised that they would be playing to a 50/50 multi-racial audience. But when this did not occur, the band returned to the UK and wrote to the United Nations expressing their regret at playing the show and their support of the anti-apartheid cause.[10]

The year of 1987 concluded with appearances in the Soviet Union in December,[10] after which Crompton and Pyle stepped aside as the original foursome put out Nouveau Calls,[9] And the original line-up's tour of 1988 was a huge success, as the band played large venues for the first time since the late 1970s. The original Wishbone Ash lineup performed onstage for the first time since February 1974, playing the first concert of their reunion at Folkestone Leas Cliffe Hall in February 1988. Due to a late arrival from Chicago due to immigration problems, Ted Turner had missed tour rehearsals, so Jamie Crompton was brought back to play with the band during the first few weeks of the tour for the first part of the show, with Ted brought on mid-set.[10] In August 1989 the band released a reunion album with vocals entitled Here to Hear,[9] featuring mainly songs written by Ted and Martin Turner.

In 1990 when the band went back into the studio to record the follow-up to Here to Hear, they were shocked when founding member Upton, the band's drummer for their entire career, announced his retirement from the music industry. They enlisted drummer Robbie France, but replaced him with Ray Weston when it was determined that personal conflicts between France and Martin Turner could not be resolved. Strange Affair was released in May 1991, featuring mainly songs written by Andy Powell and Ted Turner.[9]

Later in 1991, the band decided to continue without founding member Martin Turner, with the bassist/vocalist being replaced by returnee Andy Pyle, who had been in the band years earlier. The band toured throughout 1992/93, releasing the live album The Ash Live in Chicago, which had been recorded at two shows at a venue called Easy Street in the Chicago area back in January 1992, with guest keyboardist Dan C. Gillogly.[9] And bassist Brad Lang filled in for Pyle for a BBC date in May 1992 and again that August for a handful of shows. January 1994 saw the second and final departure of Ted Turner. Following Turner's departure, Pyle and Weston also left the band.

Reunion years to present (1995–present)

[edit]

At this stage Andy Powell was the only original member left in Wishbone Ash. Powell enlisted guitarist/songwriter Roger Filgate, bassist/vocalist Tony Kishman and drummer Mike Sturgis. The new line-up debuted on a short UK/European tour in spring 1995. By the time of the band's 25th anniversary tour in late 1995, Tony Kishman was finding touring difficult due to other performing engagements in the United States. Founding member Martin Turner replaced him on bass and vocals for the duration of the tour, before Kishman returned to record lead vocals for the band's next album, Illuminations, which was released in 1996 and featured the Powell/Filgate/Kishman/Sturgis line-up. Powell relied on fan donations and outside assistance to help finance the album.

In November 1997 guitarist Chris Auld filled in for Filgate, but at that year's end, Filgate, Kishman and Sturgis all departed, so in early 1998, Powell brought former drummer Weston back into the fold, along with new members guitarist Mark Birch and bassist Bob Skeat. Wishbone Ash then went on to release two electronic dance albums on UK indie label Invisible Hands Music. The albums contained electronic beats blended with Wishbone Ash guitar riffs. Trance Visionary was the first of the pair, spawning a 12" single of four mixes that reached number 38 on the UK dance chart.[citation needed] Psychic Terrorism followed.

The band then released an acoustic album of classic and new songs entitled Bare Bones before hitting the road in 2000 to celebrate their 30th anniversary. A filmed show was held at Shepherd's Bush Empire in London, where the band welcomed special guests Wisefield and Hamill as well as other friends for a star-studded concert that resulted in Live Dates 3 and a live DVD.

Wishbone Ash performing in Aberdeen, Scotland on 28 October 2006

In 2001 Mark Birch was replaced by Finnish guitarist Ben Granfelt. The band then hit the road for their most extensive touring schedule in years. Wishbone Ash returned to the studio in 2002 for the Bona Fide album and 2003 saw the band touring across the world with Savoy Brown, playing their largest number of American dates since the 1980s.

Ben Granfelt left the band in 2004 to continue working on his solo career and Granfelt's mentor, Muddy Manninen, joined the band. By late 2006, the band released a new studio album entitled Clan Destiny but in 2007, longtime drummer Ray Weston left the band, stating that he was tired of constant touring and wanted to concentrate on different things. He was replaced by Joe Crabtree, known for his work with Pendragon and King Crimson violinist David Cross. In late 2007, the band put out Power of Eternity; their first with new member Joe Crabtree.

On 25 November 2011 Wishbone Ash released their 23rd album, the well received Elegant Stealth, which is also the first album to be recorded by the same line up as the predecessor since 1989.

In 2013 a court case relating to a trade mark infringement and the use of the name 'Martin Turner's Wishbone Ash' was decided.[11] The court ruled in favour of Andy Powell with the comprehensive judgement forming a clear history of the band since its inception.

On 19 February 2014 the 24th studio album Blue Horizon was released. The reviews for this album were generally very positive. As of 2014 this line-up of the band, having been together since 2007, became the longest-lasting line-up of Wishbone Ash in the group's history and on 16 May 2015 they recorded a live to vinyl album at Metropolis Studios.[12]

On 21–23 May 2015 Wishbone Ash recorded the DVD Live in Paris at Le Triton [fr] in France. The performance included additional percussion and guitar contributions from Andy's son Aynsley Powell.

In May 2017 it was announced that Mark Abrahams, a long time Wishbone Ash fan, would be joining to cover guitar duties. Abrahams is a guitarist who previously owned Vision Guitars, a guitar shop in Castleford, West Yorkshire, England.

On 24 September 2019 it was announced that Wishbone Ash were signed to Steamhammer/SPV and released Coat of Arms, their first studio album in six years, on 28 February 2020. The album's lead single, "We Stand as One", was premiered on to the band's 50th anniversary in autumn 2019 and had been released on 10 January 2020.[5][13][14][15] The second single "Back in the Day" was released on 7 February 2020.[16] The album cover was created by a heraldry artist Olaf Keller in the Regal Coat of Arms design studio.

For some dates on their 2021 tour, drummer Mike Sturgis rejoined the band in place of Joe Crabtree. Then in February 2022 Mike Truscott became Wishbone Ash's official drummer.[17]

In August 2023 the band announced the release of a live album, Live Dates Live.

Martin Turner ex Wishbone Ash

[edit]

Martin Turner began touring in 2004 with "Martin Turner's Wishbone Ash", performing material by the classic line ups of the band. Occasionally Ted Turner and Laurie Wisefield have joined his group on stage as guests. He published his autobiography in 2012.[18]

In 2013 Andy Powell took legal action to protect the Wishbone Ash registered trademark and prevent Martin Turner from using his chosen group name. The court ruled in favour of Andy Powell and Martin Turner's application to appeal was refused. Since then he has toured and recorded with his band as "Martin Turner ex Wishbone Ash".

Special events

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Wishbone Ash have developed two group gatherings, AshCon in the UK and AshFest in the United States. These began in 1994 and have developed into gatherings of the 'faithful' and have since become annual fixtures.

Personnel

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Main article: List of Wishbone Ash members
Current members
  • Andy Powell – guitar, vocals (1969–present)
  • Bob Skeat – bass, backing vocals (1997–present).
  • Mark Abrahams – guitar (2017–present)
  • Mike Truscott – drums, percussion (2022–present)

Discography

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Main article: Wishbone Ash discography

Studio albums

References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Wishbone Ash

View on Grokipedia
from Grokipedia

Wishbone Ash is a British rock band formed in 1969 in Torquay, Devon, by bassist Martin Turner and drummer Steve Upton, who soon recruited guitarists Andy Powell and Ted Turner after relocating to London.
The band pioneered the use of harmonized twin lead guitars, blending hard rock with progressive, folk, jazz, and blues elements to create a distinctive melodic style that influenced groups such as Thin Lizzy and Iron Maiden.
Wishbone Ash achieved prominence in the early 1970s with their self-titled debut album in 1970 and Pilgrimage in 1971, followed by the breakthrough Argus in 1972, which was voted Album of the Year by Melody Maker readers and featured standout tracks like "Blowin' Free" and "The King Will Come."
Under Andy Powell's enduring leadership as the sole remaining original member, the band has released over 24 studio albums and continues to tour extensively after more than 50 years, maintaining their signature dual-guitar sound amid various lineup changes.

History

Formation and early breakthrough (1969–1974)

Wishbone Ash originated in , , , in late 1969, when bassist/vocalist and drummer Steve Upton, previously collaborators in local acts, sought to assemble a new band focused on guitar-driven rock. Auditioning for a single ist, they instead selected two— and —establishing the band's signature dual harmony approach from inception, diverging from the prevalent format of contemporaries like . This lineup, completed without a dedicated , emphasized intertwined guitar lines influenced by and emerging progressive elements, with Powell and Turner sharing vocal duties alongside Martin Turner's bass contributions. The band secured a deal with and recorded their self-titled debut album at in , produced by Derek Lawrence, capturing material honed through regional gigs. Released on December 4, 1970, Wishbone Ash featured tracks like "Errors of My Way" and "Blind Eye," blending riffs with acoustic interludes, though it achieved modest commercial traction, peaking at No. 29 on the in January 1971. Intensive touring followed, supporting acts such as and building a grassroots following in the UK and , which informed their evolving songcraft. Their sophomore effort, (1971), refined the dual-guitar interplay with extended compositions like the title track, but sales remained limited, prompting producer to helm sessions emphasizing atmospheric depth. Breakthrough arrived with Argus, released April 28, 1972, a exploring mythological themes through tracks such as "Time Was" and "Warrior," which showcased matured song structures and virtuoso harmonies. Argus propelled the band to wider acclaim, reaching No. 3 in the UK and entering US charts, fueled by relentless roadwork and radio play, marking their transition from cult favorites to established rock act.

Mid-career transitions and challenges (1975–1986)

Following the relative commercial underperformance of There's the Rub (1974), Wishbone Ash shifted toward a more streamlined sound, exemplified by their sixth studio , Locked In, released on 19 March 1976 via . Recorded at Studios in with producer , the featured the lineup of (guitar, vocals), (guitar, vocals), (bass, lead vocals), and Steve Upton (drums), emphasizing shorter, riff-driven tracks like "" over the progressive elements of prior works. Despite positive notices for its energy, Locked In marked the band's lowest chart position to date at number 36, signaling early signs of waning mainstream appeal amid the rising punk and scenes. The band persisted with , their seventh studio album, issued in October 1977, which incorporated acoustic textures and folk influences alongside twin-guitar leads, produced by Eddie Offord at The Who-related Ramport Studios. Tracks such as "(In All of My Dreams) You Rescue Me" aimed to recapture accessibility, but sales remained modest, failing to crack the UK Top 30 and reflecting broader challenges in sustaining the post-Argus momentum. Internal stability held with the same core quartet, though creative tensions simmered over direction, as the group balanced touring demands— including US dates supporting acts like —with evolving studio ambitions. By 1978's No Smoke Without Fire, released amid intensifying industry pressures, Wishbone Ash experimented with horn sections and rhythms on cuts like the title track, produced by Billy Phoenix, in a bid for radio play. However, the album's eclectic approach drew mixed reviews and further eroded chart traction, peaking outside the Top 50. These mid-1970s efforts highlighted transitional struggles: diminishing returns from MCA's promotion, competition from punk's raw ethos, and subtle fractures in band cohesion, though no immediate departures occurred. Tensions culminated in 1980 when bassist and lead vocalist departed after the recording of , the band's tenth studio album, released on 18 via MCA. Produced at , the LP reverted to guitar-centric with tracks like "Helpless," but Turner's exit—attributed to disagreements over musical policy, including the band's push for a more commercial sound and potential addition of a dedicated frontman—ushered in instability. Turner cited the others' "thirst for commercial success" as a key factor, viewing it as a departure from the group's organic evolution. John Wetton, formerly of King Crimson and U.K., joined on bass for subsequent touring and the 1981 album Number the Brave, recorded with producer Vic Maile at Ridge Farm. Released in June 1981, it leaned into AOR polish with synth accents and anthemic choruses, but Wetton, discouraged by the band's trajectory, declined to commit long-term, soon co-founding Asia for greater commercial prospects. This led to further flux: bassist Mervyn Goldsworthy (ex-Whitesnake) briefly filled in, followed by Andy Pyle for 1985's Raw to the Bone, a rawer return to bluesy roots produced by the band themselves at Jacobs Studios. Drummer Steve Upton also exited in 1986 amid exhaustion from relentless touring and lineup churn, exacerbating challenges as the group navigated the 1980s' MTV-driven shifts without recapturing 1970s sales peaks—albums post-1980 rarely charted, relying on loyal fanbases for survival. These years underscored persistent hurdles: recurrent personnel shifts eroded the signature twin-lead chemistry, while attempts to modernize—blending prog remnants with and pop concessions—yielded inconsistent results amid label transitions and a fragmented rock market. Despite this, Wishbone Ash maintained a rigorous touring schedule, logging hundreds of shows annually, which preserved their cult status but strained resources and unity.

Reunions, stability, and revival (1987–2000)

In 1987, the original Wishbone Ash lineup—guitarists and , bassist and vocalist , and drummer Steve Upton—reunited following an invitation from Miles Copeland to contribute an instrumental album to the IRS No Speak series. Recording commenced on May 11 at 's London studio, culminating in the December release of Nouveau Calls, the first full album by the quartet since 1973. This all-instrumental effort highlighted the band's signature twin-guitar interplay amid structures, though it achieved modest commercial reception. The reunion spurred a tour beginning February 27, 1988, at Leas Cliffe Hall, with further recording sessions from July to October yielding the vocal Here to Hear, issued in August 1989 on . Supported by U.S., Brazilian, and extensive /European tours—including a September 26, 1989, performance filmed at Bristol's Colston Hall—the blended with melodic hooks, recapturing elements of the band's sound. Drummer Steve Upton retired in March 1990, initially replaced by (later by Ray Weston in August), signaling the onset of transitional instability. Strange Affair, released in April 1991, featured the core reunion members and addressed themes of longing and conflict through tracks like "." Martin Turner's dismissal followed in October 1991, with assuming bass duties; departed in January 1994 amid additional shifts. Powell maintained continuity, leading tours across , the , and in 1991, and issuing Illuminations in 1996 on HTD Records, which incorporated acoustic textures and renewed energy with guitarist Mark Birch and others. The 1998 Trance Visionary marked a bold pivot to electronic and experimentation, produced under Powell's direction. These efforts, coupled with persistent live performances and compilations like the 1997 Distillation boxed set, fostered revival by nurturing a loyal fanbase and adapting to contemporary production, even as lineup flux persisted under Powell's stewardship.

Contemporary activities and endurance (2001–present)

Following the release of Live Dates 3 in 2001, Wishbone Ash maintained a stable core lineup centered on founder Andy Powell, with bassist Bob Skeat, who joined in 1997, providing continuity. Finnish guitarist Ben Granfelt augmented the twin lead guitar approach from 2001 to 2004, contributing to tours across Europe and North America. Granfelt's departure led to Muddy Manninen joining in 2004, who remained until 2017 and participated in albums such as Clan Destiny (2006) and The Power of Eternity (2007). The band continued issuing studio recordings sporadically, including Elegant Stealth in 2011 and Blue Horizon in 2014, emphasizing their signature harmonic guitar interplay amid elements. Drummer changes included Ray Weston's tenure ending in 2007, succeeded by Joe Crabtree, before Mike Truscott assumed the role in 2022. Mark Abrahams replaced Manninen in 2017, co-writing tracks for Coat of Arms (2019), the band's most recent studio to date. Wishbone Ash's endurance stems from relentless touring, with over 100 shows annually in the and sustained international dates into the , including the Wishlist World Tour in 2024 and planned 2025-2026 engagements across , the US, and . Special events marked milestones, such as the 40th anniversary concert in 2009 and the The Vintage Years box set in 2017, underscoring Powell's commitment to the band's legacy despite evolving personnel. As of 2025, the current lineup of Powell, Abrahams, Skeat, and Truscott upholds the original sound, performing classics like those from Argus (1972) to packed venues, demonstrating resilience in a niche rock landscape.

Musical style and innovations

Twin lead guitar technique

Wishbone Ash's twin lead guitar technique, pioneered by guitarists and , centers on the simultaneous performance of harmonized lead lines by both instruments, producing a dense, orchestral texture distinct from unison doubling. Rather than merely replicating melodies, the approach employs interval-based harmonies—typically thirds or fifths—crafted aurally over riff-based foundations that evoke arrangements from , allowing the guitars to function as a unified yet contrapuntal voice. This method emerged organically during the band's early rehearsals in 1969, drawing partial influence from earlier twin guitar explorations in groups like , but refined into a signature staple through Powell and Turner's complementary styles: Powell favoring energetic, riff-driven passages, while Turner contributed melodic, introspective lines often rooted in phrasing. The technique's execution relied on close collaboration, with harmonies developed collectively during composition; for instance, in tracks like "Blowin' Free" and "Throw Down the Sword" from the 1972 album Argus, the dual leads interweave over mid-tempo rhythms, alternating between call-and-response solos and parallel melodic ascents that build tension without overpowering the rhythm section. Powell handled arrangement of many guitar parts, integrating Turner's riff contributions—such as the iconic opening to "The King Will Come"—to ensure seamless blending, often achieved through matching amplifiers and guitars like Fender Stratocasters for tonal consistency. Live performances amplified the method's demands, requiring precise intonation and timing, as seen in 1970s sets where the guitars traded leads fluidly, such as in "The Pilgrim," showcasing Turner's finger-picked nuances against Powell's bolder strokes. This dual harmony framework extended beyond leads to rhythmic interplay, where both guitars layered riffs in parallel, as in "Blind Eye" from the 1970 debut album, creating a proto-metal density that prioritized melodic development over shredding. The approach's durability is evident in its adaptation post-Turner's 1974 departure, though Powell maintained the core principle with subsequent partners, underscoring its foundational role in the band's sound rather than dependence on a single pairing.

Genre influences and evolution

Wishbone Ash's foundational sound emerged from a blend of British folk traditions and American and R&B, augmented by rock influences including , , , and , as well as earlier inspirations like and . Founding guitarist has emphasized roots in and R&B, infused with folk elements and a "doomy vibe" drawn from British mythology, minor keys, and environmental melancholy, which lent their music a medieval or quality. This synthesis produced a style characterized by power, melody, and the pioneering guitar harmonies between Powell and , a technique that harmonized leads for a rich, layered texture distinct from rhythm-solo formats prevalent in contemporaries. The band's early evolution, evident in albums like (1971) and Argus (1972), leaned into progressive experimentation with extended compositions, thematic depth, and fusion of drive with folk and classical undertones, achieving multi-million sales for Argus and establishing their melodic rock identity. By (1973), their songwriting matured toward more concise structures without abandoning improvisational flair, reflecting greater band cohesion amid lineup stability. Mid-1970s releases such as (1976) sustained this melodic progression while incorporating jazzier elements, though subsequent personnel shifts—like Ted Turner's departure in 1974—prompted adaptations that preserved the twin-lead core but introduced broader explorations. Later decades saw stylistic diversification, including unplugged acoustic renditions on Bare Bones (1999) highlighting their folk heritage, ventures into and formats, and a shift toward more accessible rock on albums amid commercial pressures, diverging somewhat from pure progressive roots. Despite these changes, Powell noted that approximately 90% of their material retained translatability across eras, with recent works like Coat of Arms (2020) injecting fresh energy into the enduring framework, blending legacy influences with contemporary production.

Reception, legacy, and impact

Commercial success and critical evaluation

Wishbone Ash achieved their greatest commercial success during the early , particularly with the 1972 album Argus, which peaked at No. 3 on the and marked their highest charting release. The album's strong performance was bolstered by extensive touring and radio play, contributing to estimated sales exceeding 100,000 units in initial markets, though global figures remained modest compared to contemporaries like Led Zeppelin. Follow-up releases like (1973) and There's the Rub (1974) also charted respectably, with sales around 60,000 each, reflecting sustained popularity amid the hard rock boom. By the mid-1970s, however, chart momentum waned as lineup changes and shifting tastes toward punk and eroded their market share, with later albums failing to replicate early breakthroughs. Critically, Argus garnered widespread acclaim for its harmonious guitar interplay and epic song structures, often hailed as a prog-hard rock benchmark with near-flawless execution in tracks like "Time Was." Reviewers praised the band's technical prowess and melodic accessibility, positioning them as innovators in dual-guitar dynamics ahead of peers in metal and prog circles. Earlier works like the self-titled debut (1970) received solid notices for raw energy but were seen as less polished, while post-Argus efforts drew mixed responses—praised for ambition yet critiqued for weaker vocals and formulaic tendencies, as in (1973), which some outlets rated uneven despite strong musicianship. Overall, evaluations highlight Wishbone Ash as a cult-favorite act undervalued in mainstream narratives, with enduring respect for their output amid broader rock evolution.

Influence on subsequent rock and metal acts

Wishbone Ash's pioneering use of harmonized guitars, first prominently featured on their 1971 album Wishbone Ash and refined on 1972's Argus, exerted a significant influence on the development of dual-guitar harmonies in and heavy metal. This technique, involving two guitarists playing interlocking leads in thirds or unison, created a layered, melodic intensity that contrasted with the more singular riffing prevalent in contemporaries like . Guitarist has noted that the approach emerged organically from the band's lineup, stating, "We realized that we hit on a sound" that distinguished them early on. Iron Maiden, a cornerstone of the New Wave of British Heavy Metal, drew directly from Wishbone Ash's methodology for their signature galloping rhythms and harmonized solos. Bassist Steve Harris, in a 2023 , described Wishbone Ash as "such an influential band for me," crediting their impact alongside other progressive and hard rock acts. The band's dual guitarists, Dave Murray and Adrian Smith, adapted the twin-lead format to amplify Maiden's epic structures, as evidenced in tracks like "The Trooper" (1983), where layered leads echo the melodic interplay of Wishbone Ash's "Blowin' Free" (1972). Similarly, incorporated the technique into their heavy metal sound, with Powell observing its persistence in Priest's style as a direct descendant of Wishbone Ash's format. Metallica also absorbed elements of the twin-lead approach, particularly in their thrash metal era, where harmonized riffs added melodic depth to aggressive compositions. Powell, after observing a Metallica performance, remarked, "That’s straight out of the Wishbone Ash songbook!" highlighting similarities in their guitar interplay. , while contemporaries, refined twin guitars in a bluesier vein partly inspired by Wishbone Ash's earlier innovations, influencing Phil Lynott's decision for dual leads post-1974. Later acts like and extended this legacy into , blending Wishbone Ash's harmonies with complex arrangements, as Powell noted bands "translating Wishbone Ash musical concepts" across genres. Beyond guitars, Wishbone Ash's fusion of folk, blues, and progressive elements impacted bands like and in their harder-edged phases, though documentation of direct citations remains sparser compared to the guitar technique's traceability. Overall, the band's influence persisted through the 1980s metal boom, with Powell affirming in 2019 that it "helped define , , and heavy metal for years after."

Controversies and internal disputes

Lineup changes and their effects

The band's original lineup, consisting of bassist/vocalist , guitarist , guitarist , and drummer Steve Upton, achieved its commercial peak in the early but began experiencing personnel shifts that influenced its trajectory. In May 1974, departed amid personal burnout from touring, prompting the recruitment of as his replacement; this change maintained the twin-lead guitar harmony central to Wishbone Ash's sound but coincided with a shift toward more straightforward rock on albums like There's the Rub (1974), contributing to a gradual erosion of the progressive elements that defined earlier works. A pivotal rupture occurred in October 1980 when was ousted—claims he described as a firing driven by the remaining members' pursuit of mainstream commercial viability through a frontman-led configuration, which he opposed as diluting the band's integrity. briefly filled the bass role, but the instability exacerbated declining sales and label pressures, ushering in a period of frequent rotations that fragmented the classic dual-guitar dynamic and stalled momentum, with albums like Number the Beast-era releases failing to recapture prior acclaim. Reunions offered temporary stabilization: the original quartet reformed in 1987 for Here to Hear (1989), restoring some fan goodwill and harmonic interplay, but fractures resurfaced. Steve Upton retired in 1990, exited again in 1991 over irreconcilable creative visions, and departed for a second time in 1994 amid reported tensions with Powell, leaving the latter as the sole constant and prompting further transient members like Ben Granfelt and Muddy Manninen. These shifts preserved touring continuity under Powell but diluted the band's unified identity, correlating with niche rather than broad appeal in subsequent decades. The most enduring controversy stemmed from the 1980 and 1991 departures of , culminating in a 2013 Enterprise Court ruling where successfully defended his ownership of "Wishbone Ash" against Turner's use of "Martin Turner's Wishbone Ash," citing confusion among fans and promoters; Turner, acknowledging no current membership, was barred from incorporating the name into his touring entity's title, though permitted to reference his foundational role. This litigation, which Powell estimated cost around $500,000, highlighted deeper acrimony over legacy control—Turner viewing it as exclusion from his co-created catalog, while Powell asserted practical continuity—but resolved in favor of the ongoing entity, enabling sustained performances without legal ambiguity, albeit fostering parallel acts that splintered audience loyalty. Overall, such disputes underscored how lineup volatility, while adapting to personnel attrition, perpetuated internal divisions that hindered cohesive evolution beyond the blueprint.

Name ownership and authenticity debates

In 2013, guitarist , a founding member of Wishbone Ash, initiated a lawsuit against former bassist and vocalist in the Intellectual Property Enterprise Court (IPEC). The dispute arose after Turner formed a touring ensemble named "Martin Turner's Wishbone Ash" in 2010, utilizing the band's legacy name alongside other ex-members, while Powell continued performing under the official Wishbone Ash moniker with a different lineup. The court ruled that Powell held sole ownership of the goodwill associated with the Wishbone Ash name, validating his registration from 2009 and finding Turner's usage—including the band name and domain www.martinturnerswishboneash.co.uk—to infringe upon it. The determined that Powell's continuous use of the name since the band's 1969 inception, including through periods of lineup flux, established exclusive proprietorship, rejecting Turner's claims of shared historical rights. Turner contested the ruling, arguing it defied the band's collaborative origins and that Powell's lacked genuine distinctiveness at registration, but his appeal on all 22 grounds was dismissed in subsequent proceedings. This outcome affirmed Powell's legal authority to control the Wishbone Ash brand, prohibiting Turner from implying affiliation beyond explicit disclaimers. Authenticity debates among fans and commentators have centered on whether Powell's iteration—now featuring no other original members—or Turner's project better embodies the band's essence, particularly its 1970s guitar sound from albums like Argus (1972). Critics of Powell's version highlight the absence of Turner and original drummer Steve Upton, positioning Turner's group as a "classic lineup" revival, while supporters emphasize Powell's uninterrupted tenure and creative continuity since 1969. Legally, however, Powell's band remains the authenticated entity, with Turner's efforts rebranded to avoid confusion, underscoring how trademark law prioritizes documented ownership over subjective historical contributions in enduring band disputes.

Band members

Current lineup

The current lineup of Wishbone Ash features founding member on guitar and lead vocals, alongside guitarist Mark Abrahams, bassist Bob Skeat, and drummer Mike Truscott. This configuration has been stable since Truscott joined the band, with Powell as the sole remaining original member from the group's 1969 formation, continuing to lead performances and recordings under the Wishbone Ash name. Andy Powell, born February 19, 1950, has been with the band since its inception and is recognized for developing the guitar approach central to the band's sound. Mark Abrahams, a native influenced by Wishbone Ash from a young age, joined in the late and contributed to the 2019 album . Bob Skeat, a London-born with prior session experience including work with Toyah, has been a member for approximately 25 years, providing rhythmic foundation. Mike Truscott, also from and experienced with orchestral and band settings, rounds out the rhythm section as the band's drummer. This lineup supports the band's ongoing tours, such as the Wish List Tour extending into 2025-2026, emphasizing their catalog and twin-guitar interplay. Note that former bassist operates a separate touring entity performing Wishbone Ash material, but the official band is led by Powell.

Notable former members

served as Wishbone Ash's founding bassist and vocalist from the band's inception in 1969 until 1980, when the group announced his departure amid disputes over proposed changes to the band's musical direction that Turner opposed; he has described the circumstances as the band leaving him rather than a voluntary exit. Turner contributed to core songwriting on early albums including Argus (1972), which peaked at number 3 on the , and briefly reunited with the band in 1987 for Nouveau Calls before departing again in 1991. Since then, he has toured with his own lineup performing Wishbone Ash material under the billing "Martin Turner ex-Wishbone Ash," following a 2013 court ruling granting exclusive rights to the band's name. , unrelated to , was a co-founding and vocalist who joined in 1969 and departed in 1974 after contributing to the band's first four studio albums and the live release (1973), where his soulful playing helped establish the signature twin-lead guitar harmony with . He rejoined in 1987 for recordings under the IRS label, including Here to Hear (1989), demonstrating evolved guitar techniques before his second exit in 1994 due to internal tensions with Powell. Post-departure, Turner relocated to the , released the solo album Eklectic Value in 2010, and has made guest appearances with Martin Turner's ensemble. Steve Upton, the original drummer, performed with Wishbone Ash from 1969 until summer 1990, providing rhythmic foundation across 15 studio albums and participating in the 1987 reunion that yielded Strange Affair (1990). His departure stemmed from exhaustion with constant touring and industry pressures, after which he managed properties in before retiring from music. Laurie Wisefield replaced as lead guitarist in May 1974 and stayed for about 12 years, contributing to albums such as There's the Rub (1974), which reached number 18 on the , and Locked In (1976), while touring extensively and adapting the twin-guitar style. Wisefield's tenure bridged the band's classic era into the 1980s before he left in 1986 to pursue other projects.

Discography

Studio albums

Wishbone Ash has issued 24 studio albums, beginning with their self-titled debut in 1970 and continuing into the with consistent output reflecting evolving lineups and stylistic shifts toward and progressive elements. Early releases on established their signature dual-lead guitar sound, while later independent efforts maintained production quality amid personnel changes. The band's emphasizes original compositions, with occasional archival or acoustic projects classified as studio recordings.
YearTitle
1970Wishbone Ash
1971Pilgrimage
1972Argus
1973Wishbone Four
1974There's the Rub
1976Locked In
1976New England
1977Front Page News
1978No Smoke Without Fire
1980Just Testing
1982Twin Barrels Burning
1985Raw to the Bone
1987Nouveau Calls
1989Here to Hear
1991Strange Affair
1996Illuminations
1998Traces
1999Bare Bones
2002Bona Fide
2006Clan Destiny
2007First Light
2007The Power of Eternity
2011Elegant Stealth
2014Blue Horizon
2019Coat of Arms
Argus (1972) remains their commercial pinnacle, selling millions and peaking at No. 3 on the , driven by tracks like "Blowin' Free" and "The King Will Come." Later albums, such as The Power of (2007), received positive reviews for recapturing classic energy despite lineup flux.

Key live releases and compilations

Wishbone Ash's early live output emphasized their signature dual-guitar harmonies and extended improvisations, with (1973) standing out as a recorded across European and North American tour dates in 1972–1973, featuring staples like "The King Will Come" and "." This release captured the original lineup's chemistry during peak commercial interest following Argus. Subsequent efforts included Live in (1979), drawn from Japanese performances highlighting tracks from No Smoke Without Fire, and Live Dates Volume II (1980), which incorporated post-Upton/Turner era material with longer solos. Later live albums reflected lineup shifts and archival interest, such as Hot Ash (1981) from a Swedish concert showcasing the Rawlins/Philpot configuration's heavier tone. In recent years, Living Proof (Live Recordings 1976 to 1980) (2022) compiled mid-1970s tapes, offering insight into transitional performances amid internal changes. The 2023 release Live Dates Live, recorded during contemporary tours, revisits classics like "Throw Down the Sword" with the current lineup, maintaining the band's touring legacy into the 2020s. Compilations have preserved core material for broader accessibility, with Best of Wishbone Ash (1975) aggregating early hits such as "Blind Eye" and "Phoenix" from the Decca era. Later anthologies like The Best of Wishbone Ash (1997) expanded to include remixed tracks and live cuts, such as "Lorelei," drawing from MCA and subsequent labels. These collections prioritize the band's 1970s output, often emphasizing Argus and Pilgrimage selections over later works, reflecting enduring fan focus on foundational recordings.

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